Edward Cumming Video
Ultimo aggiornamento
2024-05-06
Aggiorna
Haring Tschaikowsky Musäus Schein Reibel Cumming Berger Shao Mott Ruta Salgado Romero 1877
Verliebtheit ist, psychologisch gesprochen, eine notwendige Verkennung, medienphilosophisch gesprochen basiert sie auf einem Simulacrum, einem Trugbild. Der Liebeswahn, der im Evergreen Schwanensee seit 1877 durchgespielt wird, schöpft aus trügerischen Fiktionen wie auch aus historischen Quellen, wie zum Beispiel dem Märchen Der geraubte Schleier von Karl August Musäus. Romantische Liebe, wie sie in Schwanensee zelebriert wird, ist nach Eva Illouz weder Schicksal noch Zufall, sondern eine historisch relativ neue Konstruktion, die im emotionalen Kapitalismus intensiv bewirtschaftet wird. Wie ließe sich diese Sehnsucht nach dem „Konsum der Romantik“ in Bühnenbilder übersetzen, die selbst nicht in die Lüge verfallen wollen, als entzaubert verstanden zu werden? Der Choreograf Chris Haring hält den Körpern gebrochene Spiegel vor. Sein Spiel mit Sein und Schein, sein Umgang mit Spiegelbildern und Trugbildern lotet das Fremde im Eigenen und das Technische im Natürlichen aus. Es entfaltet sich im Illusionsraum der Linzer Theatermaschine und legt zugleich dessen Bestandteile frei. Diese postromantische Schwanensee-Version zeigt statt tanzender Schwäne und schmachtender Prinzen ein Verfließen, ein Werden der Gesten und Sprachen, das ins Unbestimmte, Transitorische des Menschen weist. Ticket & info: (http•••) Musikalische Leitung Marc Reibel Choreografie und Inszenierung Chris Haring Choreografische Assistenz Stephanie Cumming Set Design / Kunst Anouk Lamm Anouk Kostüme Stefan Röhrle Videodesign Michael Loizenbauer Lichtkonzept und Szenografie Thomas Jelinek Sounddesign Andreas Berger Nachdirigat Claudio Novati Takeshi Moriuchi Theorie Thomas Edlinger Dramaturgie Roma Janus Elena Sofia Bisci Shao Yang Hsieh Angelica Mattiazzi Casper Mott Katherina Nakui Pavel Povrazník Albert Carol Perdiguer Lorenzo Ruta Arthur Samuel Sicilia Nicole Stroh Hanna Szychowicz Pedro Tayette Fleur Wijsman Video: Jonatan Salgado Romero
Béla Bartók Stravinsky Shepherd Manners
By the time Bartók had adapted these 20 songs, he had thoroughly mastered the folk-music genre, both in his arrangements and original compositions (where he often imitated folk styles or used folk themes). These works are generally considered among his finest folk arrangements. The collection consists of four unequal groups: Sad Songs (Nos. 1-4), Dancing Songs (Nos. 5-8), Diverse Songs (Nos. 9-15) and New-Style Songs (Nos. 16-20). The first group lives up to its collective title with moods that range from the desolate and utterly despairing to the merely melancholy. The most profound of these is the first, "In Prison," the lengthiest song in the entire set, and undoubtedly the bleakest. The ensuing "Old Lament" has a Stravinskian character in its drier, almost emotionally neutral manner. "The Fugitive," No. 3, returns nearly to the black moods and abject miseries of "In Prison" and "Herdsman's Song" has a sad but lovely manner and deft atmospheric keyboard writing in its dark tremolos. The Dancing Songs present considerable contrast in mood overall, though its first offering, "Slow Dance," has a rather melancholy theme and mood. "Fast Dance" and "Swineherd's Dance" follow, brighter works both, the former a colorful and once-again Stravinsky-tinged effort and the latter a humorous sassy song, divulging brilliant ethnic colors. The "Six-Florin Dance" closes this group with more humor and folkish flavors. The Diverse Songs that follow consist of seven mostly short works, and, as their collective title suggests, range both in mood and in text. "The Shepherd," No. 9, is pastoral and lovely in its beautiful vocal music, while the ensuing "Joking Song" and "Nuptial Serenade" offer brilliant contrast not just in their livelier and more joyous manners, but in their colorful vocal and keyboard effects, such as tinkling, bell-like imitations in the upper register of the piano. "Humorous Song," No. 12, may surpass both in aural effects, at least in the vocal realm: the singer's "boom, boom, boom" ("bum, bum, bum" in Hungarian) adds to the bouncy fun and slapstick charm of this lively creation. "Dialogue Song" recalls the mood of the Sad Songs somewhat, but does not sink to deep levels of despair. Here, in fact, the "dialogue" between a caregiver and sick elderly person produces a sense of hope. The following song, "Complaint," also concerns a sick elderly person and features gloomy music. "Drinking Song" presents an imaginative close to this group with both its madcap music and zany text. The New-Style Songs present four connected songs (Nos. 16-19), all short, with the second and fourth lasting just a half-minute. "Oh, My Dear Mother" has an agitated manner and bizarre, somewhat morbid text, while the ensuing three efforts, "Ripening Cherries," "Long Ago at Doboz," and "Yellow Cornstalks," offer music about love, or, in the case of the middle one, about lost love. The final song, "Wheat, Wheat, Wheat," is triumphant and joyous. Source: Robert Cumming in (http•••)
Kerr Nichols Curry Butz Putnam Woolf Cherry Byrne Irwin Turner Louise Parker Foster Richardson Slater Radio City Music Hall
(11 May 2005) SHOTLIST 1. Lynn Redgrave announces nominations for best musical 2. Excerpt: 'Monty Python's Spamalot' 3. Nomination for best play announced 4. Exterior Walter Kerr Theatre 5. Excerpt: 'Doubt' 6. Alan Cumming announces nominations for best direction in a musical 'SPAMALOT' EARNS 14 TONY NOMINATIONS "Monty Python's Spamalot," an offbeat musical spoof inspired by those quirky British cutups and their film "Monty Python and the Holy Grail," grabbed 14 Tony Award nominations Tuesday, including a nod for best musical. The 14 nominations for "Spamalot" included nods for director Mike Nichols as well as for the show's King Arthur, Tim Curry, and its Lancelot, Hank Azaria. The two actors will go up against Gary Beach, the warmhearted drag star of "La Cage aux Folles," and those two con men from "Dirty Rotten Scoundrels" - Norbert Leo Butz and John Lithgow. "Dirty Rotten Scoundrels," about a couple of scam artists working the French Riviera, and "The Light in The Piazza," a complex, lushly romantic tale of love at first sight, each earned 11 nominations. All three will compete for the musical prize, along with "The 25th Annual Putnam County Spelling Bee," a small, sweet show about youngsters learning how to win - and lose. "Doubt," Pulitzer Prize winner for drama, and the revival of Edward Albee's "Who's Afraid of Virginia Woolf?" each scored something of an acting coup. The entire, four-person casts of both plays received nominations. "Doubt," John Patrick Shanley's parable about the innocence - or guilt - of a likable parish priest, gathered nominations for Cherry Jones as a dour, suspicious nun, Brian F. O'Byrne as the accused priest and Heather Goldenhersh and Adriane Lenox, the production's two supporting players. Competing against "Doubt" in the best-play category are "Democracy," Michael Frayn's spy story set in Germany; August Wilson's mystical "Gem of the Ocean"; and "The Pillowman," Martin McDonagh's ghoulish tale of murder and mayhem. Bill Irwin and Kathleen Turner picked up acting nominations for their performances in "Who's Afraid of Virginia Woolf?" Turner and Cherry Jones ("Doubt") face competition from actresses who appeared in plays that have already closed: Laura Linney, the spurned woman in "Sight Unseen"; Mary-Louise Parker, a distraught housewife in "Reckless"; and Phylicia Rashad, an ancient, iconic figure in "Gem of the Ocean." The competition for Irwin and O'Byrne ("Doubt") will be Billy Crudup, a jailed writer in "The Pillowman"; Philip Bosco, a disbelieving juror in "twelve Angry Men"; and James Earl Jones, the cantankerous father of "On Golden Pond." Nominated for leading actress in a musical were Christina Applegate, "Sweet Charity"; Victoria Clark, "The Light in the Piazza"; Erin Dilly, "Chitty Chitty Bang Bang"; Sutton Foster, "Little Women"; and Sherie Rene Scott, "Dirty Rotten Scoundrels." It was a year in which several big names were left out of the highly competitive acting categories. Among those snubbed by the Tony nominators were Denzel Washington, who plays Brutus in a revival of "Julius Caesar" and the leads in two Tenneesee Williams revivals: Natasha Richardson and John C. Reilly in "A Streetcar Named Desire" and Jessica Lange and Christian Slater in "The Glass Menagerie." The shows received mixed notices from critics, as did the stars. The Tony Awards, with Hugh Jackman as host, will take place June 5 at Radio City Music Hall with a three-hour telecast by CBS. The nominations in 25 categories will be voted on by 758 members of the theatrical community. Find out more about AP Archive: (http•••) Twitter: (http•••) Facebook: (http•••) Instagram: (http•••) You can license this story through AP Archive: (http•••)